OTHELLO Master Class 6

Audio Podcast Series of Master Classes for Professional Actors exploring Othello with Alexander Barnett - This class is a continuing in-depth discussion of the courtship of Othello and Desdemona and the undercurrents at play prior to Cyprus.

KING LEAR Film - Act 3 Scenes 1,2

 Stream on Amazon Prime - Episode 7

3.1

The instability Kent feared when Lear banished Cordelia has set in upon the kingdom.  As ever, Kent’s primary objective is to protect Lear’s physical and mental well-being.  He must get him out of the storm, which is quickly speeding up Lear’s decline.  The storm is getting worse. They are only twenty minutes from the courtyard and have already become separated.  While Lear is trapped in reflection on the past, Kent must be looking ahead to the future and turns back in search of the first Knight.  Now that both daughters have abandoned him, he turns to Cordelia, as she may be the last source of refuge for Lear.  Kent is relying on his knowledge of their relationship and trusting that despite everything that has happened, she still cares deeply for Lear and will want to do whatever she can to help him.  Kent’s loyalty and devotion shine in this scene and throughout the storm.  His shrewdness is also apparent, as even in the face of the dire present, he is still thinking ahead and planning for what is to come.  The first knight is somewhat perplexed by Caius hints as to his identity and the instruction to contact Cordelia, but he, like Kent, is devoted to serving Lear, and will gladly travel to Dover in the elements to uphold his duty. 

3.2

The intense cold, the jarring wind, and the plaguing thunder take their toll on Lear, Kent, and the Fool.

OTHELLO Master Class 5

This class is an in-depth discussion of the courtship of Othello and Desdemona and the undercurrents at play prior to Cyprus. https://www.alexanderbarnett.com/oth.html http://bit.ly/KingLearAmazonPrime

 

Burnistoun - Voice Recognition Lift

I could not resist revisiting this.  Enjoy.

 

KING LEAR Film - Act 2, Scene 4

 Stream on Amazon Prime - Episode 6

When Lear arrives at Gloucester’s, the political tensions that have been building towards upheaval breach the surface, while the impending storm looms inevitably closer. This scene is structured around a slow build towards a breaking point, yet at its heart is only deterioration. The stability of the kingdom, alliances, familial bonds, and Lear’s health and sanity all begin to fall apart.

The Fool, ever shrewd to the point of seeming prescience, warns Kent of what is about to happen.  He is alarmed by the changes he sees in Lear and, knowing Goneril and Regan’s true nature anticipates that he is about to be pushed into further devolution. He urgently cautions Kent that Lear’s decline will be swift and brutal, that it has already begun, and that it will not end well for those who follow. This moment is particularly poignant, as the Fool speaks to Kent not as Caius, but as himself. In that sense, it echoes the moment of recognition during 1.4, but goes beyond that brief silent exchange. This is not a moment of commiseration; rather the Fool is compelled by his very nature to warn Kent of the danger of following a doomed man. Yet he also knows that neither Kent nor himself will head that warning. They are both steadfast in their devotion to Lear and, however foolishly, will remain at his side in spite of what is to come, and indeed because of it. 

OTHELLO: Master Class 4

Reaching the end of my European tour of Othello I found I was not ready to let go of the play. So when I returned to New York, I created a series of master classes for professional actors. These are the audio versions.

KING LEAR Film - Act 2 Scene 2, Scene 3

KING LEAR Film - Act 2 Scene 2 Scene 3

Stream on Amazon Prime - Episode 5

There is tension and anticipation throughout the country as the makings of civil war continue to fester underneath the surface of civility. In this scene, there is much fighting, physically and verbally, as the younger generation postures for control of the kingdom. The boundaries of the social structure are tested in anticipation of their outright deterioration following Lear’s arrival.

Cornwall’s callous treatment of Kent is his first act of defiance against Lear, and the old order. Cornwall finds pleasure in being aggressive, commanding, and cruel to the King’s servant. He acts not out of mere distaste for Kent’s behavior as Caius, but because he finds pleasure in disregarding the social hierarchy and claiming a more powerful role for himself. As always Regan continues to try to trump Cornwall in severity, demanding further cruelty when Cornwall orders Kent put in the stocks. The competitiveness within their marriage exacerbates the underlying tension in the constant struggle for control that pervades this scene.

OTHELLO: Master Class # 3

Reaching the end of my European tour of Othello I found I was not ready to let go of the play. So when I returned to New York, I created a series of master classes for professional actors. These are the audio versions.

 

Dover King Lear Act 4 Scene 6

 

Othello: Master Class 2

Reaching the end of my European tour of Othello I found I was not ready to let go of the play. So when I returned to New York, I created a series of master classes for professional actors. These are the audio versions.

Audio Podcast Series - The 2nd class continues the in-depth discussion of the opening scenes. https://www.alexanderbarnett.com/notesoth.html

Rodrigo, Othello, Desdemona, Brabantio

Othello: Master Class1

Reaching the end of my European tour of Othello I found I was not ready to let go of the play.  So when I returned to New York, I created a series of master classes.  These are the audio versions.

Audio Podcast Series  - The 1st class is an in-depth discussion of the given circumstances of the opening scene and the characters of Iago, Rodrigo and Desdemona.

Rodrigo and Iago

A Review by Richard Masloski

I am so deeply honored by this review of my film The Eyes of Van Gogh from the late sculptor and composer Richard Masloski. https://www.masloski.com/

In so many ways I find it to be extraordinary.  An artist can usually only dream in vain of a critic who writes so well; is so thoughtful and insightful; so impassioned in his understanding and evaluation.

In sharing his review with you I believe I am also sharing his magnificent spirit. 

Who is Alexander Barnett?

He is the man who wrote, directed and stars in what is arguably the most poignant and profound portrayal of Vincent van Gogh ever put on film. There have been many movie Van Goghs: Kirk Douglas' rendition in LUST FOR LIFE is magisterial. But despite the intense veracity of Vincente Minnelli's 1956 film, there were warts beneath the warts in the actual history that just didn't make it to the screen in that lavish and rich outing. Robert Altman offered a grimmer and grimier version of things in VINCENT AND THEO and Tim Roth gave us a more insular artist - whereby from all historic accounts the destined Dutchman was extremely demonstrative and vocal and all over the place. Jacques Dutronc's turn with the paint brush in VAN GOGH was likewise introspect in a biopic that flung facts around as wildly as Van Gogh flung paint anywhere and everywhere in his frenzied attack of the nihilistic blankness of the ever-goading canvas.

King Lear Film - Act 2 Scene 1

King Lear Film - Act 2 Scene 1

Stream on Amazon Prime - Episode 4 

Edgar and Edmund are both fighting for their lives. Edmund may be the orchestrator of these fraught circumstances, but he is risking his life in doing so.  Even as his plan unfolds accordingly he does not take for granted that it could easily collapse at any moment, causing him to lose everything.  

Edmund is excited to be actively pursuing his desires, rather than just scheming in anticipation.  He does not let the pleasure of deceit overwhelm and undermine him, instead funneling that energy into his performance: there is always a kind of truth in his deceptions.  He uses his frenetic urgency to disorient and engross Edgar, convincing his brother he has no choice but to run, before he even has the chance to process what is happening to him, thus confirming all suspicions of guilt.  Even after Edgar has fled, the stakes are no less dire for Edmund; if Edgar is found alive it will become one brother’s word against the other.  Each success does not bring relief for Edmund, but further fuels his drive and focus.

Rosencrantz and Guildenstern

I have directed several productions of Hamlet.  Here are some miscellaneous musings about the characters Rosencrantz and Guildenstern.  

Guildenstern seems more intelligent and (not warm) but warmer and more patient than Rosencrantz.  Also he has more humor and is more of a leader.  In the early scenes, he is definitely in charge (though not in a pushy way).  Rosencrantz seems more physical and rougher…and potentially more cruel. 

As Hamlet makes his complete break with them at the end of Act lll, Sc. 2 (the play scene) Rosencrantz starts to take over – Guildenstern’s last time in charge is when he believes the message from Gertrude to Hamlet that she wants to see him.  As reason and patience (Guildenstern) fail, force and brutality (Rosencrantz) take over. 

In the following scenes Guildenstern is almost silent and all we hear is the ominous tone and threats of Rosencrantz.  Obviously, they have worked out strategy and concomitant ramifications following each altercation with Hamlet and Guildenstern ultimately prevails.  

In the end, through their actions, we see them for what they really are: two educated thugs willing to carry out their lord’s orders even if it means murder.  We should feel little sympathy for their impending deaths.

https://www.alexanderbarnett.com

The Closet Scene: Gertrude and Hamlet (Alexander Barnett)

Macbeth Revisited (A Rebuttal)

I caught an interesting and depressing Charlie Rose interview with Liev Schreiber discussing Macbeth.  Mr. Schreiber was taken aback by Rose's referring to Macbeth as evil.  Schreiber them proceeded to explain the typical age-old argument of Macbeth as a good (And to many, a great) man gone wrong who kills Duncan to please his wife and who, ultimately, greatly regrets having done the deed because he is a man of deep conscience.  This is after all a tragedy and therefor requires the fall of an individual of great stature and/or position.

Wrong!

King Lear Film - Act 1 Scenes 3-5

 Stream on Amazon Prime - Episode 3

Alexander Barnett as Lear; Aaron Strand as Fool; Peter Holdway as Kent

1.3

         As Goneril informs Oswald of her intentions to put an end to Lear’s careless and erratic behavior, we see the true extent of her ambition. Goneril is indeed resentful of Lear for favoring Cordelia and disgruntled having endured a lifetime of his rule, but that is not why she acts. Nor does she wish to punish him for the rowdy behavior of his knights as she claims to in the next scene; the reasons she states are excuses. The knights are a nuisance, but she sees them merely as obstacles, not adversaries. Goneril is fed up, but it is from having to hold herself back. Her eagerness to render Lear impotent and cast him out of the kingdom comes first and foremost from her inner drive and ardent desire for power and independence.

New review for "The Eyes of Van Gogh"

The Eyes of Van Gogh - I appreciate the kudos for the film. https://gravelmag.com/vincent-van-gogh-movies/

The 2005 drama tells the story of Van Gogh’s time in an asylum. If you have read his biography, you know he voluntarily entered himself into the Saint Remy asylum for 12 months. That was when his epilepsy started to interfere with his life. Director Alexander Barnett does a great job with this movie. It shows exactly how Van Gogh experienced the world during his time in Saint Remy. The movie is not just a biopic movie, but also tells the story of what it is like to enter a state of madness.       

www.theeyesofvangogh.com  Streaming on Amazon Prime  http://bit.ly/EyesofVanGogh     

New Review

From https://culturacolectiva.com/cine/ --- " In ' The Eyes of Van Gogh ', Alexander Barnett acted, wrote and directed the story of Van Gogh, which focuses on the painter's mental health problems between hallucinations and recurring panic attacks. This film is one of the darkest on the list because, far from being a romanticization of the artist's depressive crises, it shows them in all his terror."

Another Lie from Amsterdog Rescue - Please Share

Amsterdog is listing Frost as having been "adopted."  She was not adopted.  She had to be euthanized while with me on a trial basis since she was so dangerous. 

Do not use this shelter

Amsterdog.org - Please Share

Do not use Amsterdog.  Deborah Dilorio, the owner, did not give me the complete history on the dog I had on a trial basis - in particular she did not tell me the dog had a bite history.

The person who was fostering the dog at the time also did not tell me, and lied outright saying the dog never started an attack, but would only defend herself.  Utterly false.  I got a very dangerous dog that caused huge amounts of pain and suffering and many thousands of dollars in medical bills.  Because they did not tell the truth.